Video essay link: https://youtu.be/2TWSCy5qDGE
Backup link to Google Drive (In case YouTube remove the video again): https://drive.google.com/file/d/1VOF3dB4WykYQ_zPp2EzPfhigNJhNRZZ0/view?usp=sharing
Theme and subject matter
The theme of my video is unconventional glyphs in the Man Wah Building, specifically the words appearing on signages and posters in the streets. The definition of ‘design’ is taken loosely in this project, referring to any glyphs that are written in an unconventional way, including those that may regarded as incorrect by many. Of all the artifacts in a physical community, glyph is almost the most abstract one. It certainly is presented in the street as an actual object like plastic signage, but at the same time it essentially is a graphic element that supplements the architecture, providing functionality such as advertising, wayfinding, etc.
Glyph and architecture share a common quality in the local community: they both present the community’s unconventional quality. The existing spaces in architecture are utilized in an unexpected way through interaction with community members. For instance, we can easily find spaces being used as a smoking area even if it does not mean to. Similarly, the glyphs being displayed in the community create an unconventional streetscape that is no doubt fascinating. Through this investigation from a filmmaking perspective, the communal and visual value of the unconventional glyphs is appreciated and discussed.
Methodology in conducting the research
Fieldwork is conducted multiple times at Man Wah Building. As a residential-commercial mix-use area, different business typologies, such as restaurants and workshops can be found, providing written material of different focus that facilitate the analysis of unconventional glyph design. The two main sources of unconventional glyphs identified are the plastic calligraphic-inspired signages (usually in red) and handwritten posters, both directly reflecting the handwriting method of the community members. In contrast, the new signages usually feature digital typefaces that adhere to conventional writing standards proposed by scholars or the government. The tension between the two identified categories (calligraphic and digital, old and new, unconventional and conventional) provides a parallel case study of the discourse regarding Man Wah Buildings’ redevelopment, questioning if the community and its unique culture should be wiped out.
In terms of literature review, my main inspiration for the project is the book Typo-ology Hong Kong: A Study of Chinese Character Design in the Local Community (shops). The research is conducted by a group of Hong Kong architecture scholars. Despite the unconventional glyphs being designed by different individuals, many share similar ways of altering the original glyphs, such as enlarging the radical 「氵」. Therefore they can be analyzed through the lens of architectural typologies. The approach stresses how glyphs and architecture, both as artifacts in the community, can be influenced and modified by the community members in a similar way. It again shows the tight relationship between type design and architecture in response to the city’s development.
Additionally, a review of glyph standardization documents is conducted. It is discovered that the unconventional glyph identified in the project differs from any of the standards. Therefore it can be hypothesized that the writing is not based on any standardization documents, but is developed in a bottom-up manner.
Methodology in video production
In terms of the methodology of video making, my approach is to make a video collage that aims to capture the graphic quality of the glyphs. As the graphic design and the form of the glyphs are crucial in the appreciation of unconventional glyphs, the photos are generally taken at an upright angle so that perspective distortion is minimized.
Besides, some photos of the whole storefront are inserted into the photo collages of the glyphs found in Ming Wah Buildings. The method aims to enhance the connection between glyphs and architecture, both representing the unconventional quality of Ming Wah Buildings.
As the main function of the video collage is to curate the variety of glyphs and façade in the site, it is treated as an entity rather than a collection of individual stills. I was influenced by the documentary ‘Why this font is everywhere’ produced by Vox, specifically the way they use fast-paced video collages to show use cases of the font Cooper Black on the street. It successfully conveys the idea that the font is omnipresent. By adopting the approach when showing the unconventional photos I took on the site, audiences are encouraged to appreciate the variety of glyphs rather than individual photos.
One exception is the glyph 「渠」which I utilize as a motif throughout the video. I intentionally incorporate repetition, including different camera movements (zooming in, zooming out, panning, tilting, still, etc.) and variations of the glyph spot in the site. The motif improves the coherence of the whole video. Moreover, it also frames the glyph as a major example of an ‘unconventional glyph’ in the video, naturally leading to the part in which I analyze how the specific glyph differs from the conventional one. I deliberately compare the glyph to the conventional writing in a digital typeface to show how the glyphs designed by the community do not conform to any preexisting tradition.
Conclusion
To conclude, the video essay analyses how unconventional glyphs create interesting details in the streetscape of Man Wah Building, specifically focusing on the context in which both the glyphs and the buildings are disappearing under an authoritative redevelopment scheme. It is identified that this activity of bottom-up glyph design is likely to vanish in the foreseeable future. Ordinary community members, professional architects, and designers should be aware of the value of community participation in the streets’ visual design. By exploring methods that preserve this treasurable culture, such as digitization of unconventional glyphs or incorporation of it into architectural design, they can be appreciated by the public in the rapidly evolving digital era.
Thus, by exploring different filming languages, the variety of unconventional glyphs and their inseparable relationship with architecture is presented. It is hoped that it can bring a new perspective to the discourse of the relationship between filming, graphic design and built environment.
Fung Yin Ho 3036229470
Bibliography
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